Green Shakeup

 

Audition of natural green Neocolor II, Inktense and Museum Aquarelle

After a couple of weeks of being dissatisfied with my daily-carry selection of greens, I decided it was time for a total shakeup. I pulled all the greens out of my bag – Caran d’Ache Neocolor II crayons (which had been doing the heavy lifting of greens lately) and one Cd’A Museum Aquarelle pencil. Then I went through all my Neocolor II crayons, Museum Aquarelle pencils and Derwent Inktense pencils and selected the more natural greens that would be useful in my Pacific Northwest urban landscape. The image at top of post is the selection I auditioned. Below are the swatches.

The finalists are checkmarked.

Many were easy to eliminate after applying water. Especially among Neo II and Inktense, many greens look natural in their dry state, but once activated, they become almost garishly bright and less natural. I made the first cut below.

Among these finalists, the checkmarked greens went into my daily-carry bag.

The ones I checkmarked above are my final cut, currently in my daily-carry.

On an errand in South Lake Union, I made a sketch to test the new green palette. Also referred to as Amazontown (at least by me), SLU is mostly an ultra-modern, glassy, urban village, but Denny Park does offer a fringe of green. I enjoy finding compositions that contrast steel and glass with organic foliage. The unique accordion-folded shape of the Skyglass Apartment Building caught my eye behind Denny’s tallest trees.  

5/9/26 Skyglass Apartments and Denny Park, South Lake Union

So far, I like the way these greens go together straight out of the pencil/crayon. I hope I can push myself, though, to find more interesting blends by introducing non-greens. It’s that constant tension between wanting to stay “real” with nature – and not. Maybe some red complements to dull the greens? Maybe adding blue instead of leaning on that dark bluish-green I love so much for conifers? My summer challenge begins.

Abstract Colors, Abstract Shapes

 

4/29/26 Maple Leaf neighborhood (This house, which looks more like a beachfront hotel than a residence, is actually dark brown, but I had no problem turning it blue-violet, which has become a favorite dark in my palette. On the other hand, I felt compelled to color the trees around it in their natural hues.)

As Colin Woodward’s YouTubes have made me think more consciously about abstraction, I’ve come to realize that some types of abstraction come more easily to me than others. The textures and shapes of trees and foliage, for example, are easier to abstract than their hues, which I feel compelled to make as natural as possible (I talked about this a bit in yesterday’s post, too).

On the other hand, humanmade shapes likes houses and cars are more challenging to abstract, but it’s easy to use non-realistic (or non-real) colors to depict them.

5/3/26 Maple Leaf neighborhood (With some difficulty, I tried to abstract the cars as much as possible. The blur of foliage was easier to abstract by simply focusing on values.)

Strangest of all is that it’s easier to abstract both shapes and colors when I work from photo references (as below) than from life. It should all be the same to my brain, yet whenever I sketch from life, I feel I must be more life-like. (As is often the case, my brain can be annoying.)

4/15/26 photo reference (Both shapes and colors are easier to abstract when I draw from a photo)

Hacked flat waterbrush

In somewhat related news: Woodward, a painter in various media, uses many types of “real” brushes (he’s too polite to say, but I can tell that he eschews the waterbrush and keeps one around only for emergency use). One of his favorites is a flat wash brush. Although I have no intention of using real brushes on location, he inspired me to dig out a waterbrush I had hacked several years ago. It’s a standard Kuretake waterbrush with a flat edge that I cut (with some difficulty) at an angle. I goofed around with it at the time to make portraits, then forgot about it.

I’m glad I kept it! The point is finer than a Kuretake medium-size round waterbrush, which is my go-to, and it has come in handy a couple of times for details. More useful, though, is the angled flat edge, which enables activating a large area of foliage, for example, without getting the dreaded dab-dab-dab look that can occur when using a round Kuretake. (In fact, avoiding the dab-dab-dab look was what led me to start using a spritzer to activate foliage years ago.) It might just be a novelty, but I’m keeping it in my bag for now.

Northlake Commons (and Green Disgruntlement)

 

5/7/26 Northlake Commons

Mary Jean recently introduced me to a newish business complex near the north end of Lake Union just off the Burke-Gilman Trail. Northlake Commons still looks largely unoccupied, but all the better to explore the huge public spaces. Best of all, the complex has been beautifully landscaped (approved by MJ, a retired landscape architect) to soften the hard edges of the surrounding modern architecture. If you stand at the top of a stairway, you’ll see peek-a-boo views of Lake Union and the downtown skyline. (I see a USk Seattle outing here in my future.)

First I wanted to continue experimenting with varying textures and colors of greenery by focusing on one of several weeping cedar trees at the foot of a stairway (top of post). It’s one of my favorite types of composition with organic foliage against hard, built environments.

I considered sketching the lake view from the top of that stairway, but I wanted to get closer. Across the street, I discovered that one of the peek-a-boos was a tiny pocket park with a bench and even a picnic table. Hidden from the sidewalk, it must be a well-kept secret: That afternoon, it was just me and a family of Canada geese.

Lake Union from a tiny pocket park

Color notes: I’m unhappy with my current selection of green water-soluble materials. For many years, I had used a go-to trio of Caran d’Ache Museum Aquarelles that went well together, but growing tired of it was what prompted my lengthy exploration of primary triads several years ago. I wanted to get out of that rut.

Eventually I drifted back to the tried-and-true, but then my more recent discovery of designer Germanier’s surprising color choices led to my “wacky” palette experiments. Although I’m hoping that inspiration will still guide me now, when it comes to foliage, I always feel the tension between wanting to be true to nature and wanting to push myself.

Lots of greens, none quite right

My current dissatisfaction with greens is mostly due to my love of Caran d’Ache Neocolor II water-soluble crayons. Despite its wide green range (all of which I own), I can’t seem to find a trio (light, medium, dark values) that go well together. In addition, I also like to have a dark, cool green to take care of all the Pacific Northwest conifers fringing any horizon, and Neo II doesn’t have one that’s just right for that, either. Hence, I ended up with a nearly-turquoise green on the sunny edges of the weeping cedar which I made attempts to dull with a mossy green that I don’t like, either.

Using only Neo IIs for foliage wasn’t going to cut it. Since I’m trying to avoid my Museum Aquarelle green rut (sadly, MA’s range of greens is inadequate), it’s time to pull out Derwent Inktense Pencils. Although I went through an infatuation with Inktense a few years back, it had faded. However, seeing Colin Woodward’s use of Inktense revived the spark. Stay tuned for my green overhaul.

Eph’s Towing

 

5/6/26 QFC parking lot, Magnolia

Shortly after I had pulled out of the Fishermen’s Terminal parking lot last week, I knew something was wrong: The Miata’s clutch would barely engage, and shifting into each gear was a struggle. I pulled into a nearby QFC lot.

Eph’s Towing, recommended by Chuck’s Auto, came to my rescue. When I told Ephraim how questionable the car’s operation was, he decided to maneuver the car out of the parking space and align it with the tow’s flat bed by hand! I was impressed and relieved to see him treat my 30-year-old baby with such care.

Many towing services won’t allow the owner to ride along in the cab, but Eph was happy to take me along. It turned out that we are both Seattle natives and Franklin High grads (although he was probably four decades behind me)! I enjoyed hearing how he got into the towing business and how grateful he is for the flexible work, which enables him to spend more time raising his two young kids. Currently renting a house in Burien, he and his wife are saving toward buying a home. Despite Seattle’s well-known unaffordability, they like it here and hope to stay.

Eph securing my baby to the tow bed (photo reference)

As he dropped me and my Miata off at Chuck’s Auto, I wished Eph well and later left him a five-star review on Google (which he had requested in response to my words of gratitude).

Epilogue: The faulty clutch cylinder was the one that had been replaced just under three years ago (another towing incident that had required a much longer sketchwait than this one), so it was still within warranty. Whew! An automotive bullet dodged, and the Miata rides again!

A Larger Demo

 

A practice demo I did at home using markers on 9x12 paper.

My second in-classroom workshop for ArtSpot was on drawing animals with colored pencils. Since the brush pen workshop had focused on pets, I broadened the second one to include any animal, but the chosen subjects were all pets anyway. As I’ve found with my own commissions, pets are always an endearing subject!

After my first workshop, I thought hard about how I could improve my demos. The issue was that since I typically work on small paper, it’s difficult for the students to see my work in progress. Yet trying to use colored pencils on a larger scale would be time-consuming. I decided to use a 9-by-12-inch sketchbook at an easel to demonstrate the drawing methods (scaling, measuring, the drawing sequence) using bold markers. I felt that students could grasp the concepts that way, then apply them to colored pencils.

I think it worked out better, and the students all did really well. It’s always rewarding to interact with hard-working, motivated students!

Demo sketch on how I might use bright yellow to imply highlights that are
difficult to see in the reference photo.

An urban sketching-style group selfie!

Photo courtesy of ArtSpot

Photo courtesy of ArtSpot (I'm holding the demo I did with markers at the easel)

A Single Snow Gum Eucalyptus

 

5/3/26 snow gum eucalyptus, Maple Leaf neighborhood

A pair of spectacular snow gum eucalyptus trees on my walking route were among the many trees I sketched a couple of years ago while following the book, Street Trees of Seattle. Sadly, about a year ago, I saw that one of the pair had lost a major branch that had been precariously hanging over the street. A few months later, the entire tree was taken down due to poor health. According to author Taha Ebrahimi, these were the first snow gum eucalyptus street trees to be registered in the City of Seattle in 1978.

I didn’t have the heart to sketch the remaining tree for a long time. Walking by recently on a beautiful morning, I finally sketched it. In the foreground you can see the wide stump of the one that had to be cut down, but at least its remaining sister is still thriving and dancing.

(Even after sketching it several times, I still can’t seem to scale it accurately so that it fits on the page! The top of the crown reaches far beyond what I show here.)

Fishermen’s Terminal for USk Week

 

5/6/26 Fishermen's Terminal

For our second outing during International Urban Sketchers Week, USk Seattle chose Fishermen’s Terminal, which we think of as our inaugural site. A bit chillier and windier that day than I found comfortable, I ducked in and out of pockets of shelter from the wind (and found a boat aptly named Windswept).

I found small vignettes of fishing boats, the Fishermen’s Memorial Monument, and other nautical pieces to put together on the page. Floral arrangements were still in place in front of the memorial, where families gather each May to remember lost fishermen. Many names of fishermen who have died at sea are engraved in paving stones, and it’s always moving to see how many were very young.